The Theory and Practice of Handwriting/Chapter 9

by John Jackson

CHAPTER IX

METHODS OF INSTRUCTION AND DIRECTIONS FOR CLASS TEACHING

Two methods which have been propounded for the teaching of writing have commended themselves strongly and successfully to the approval of the profession. One of these was elaborated by Mulhauser with whose system every teacher is more or less familiar, the other emanated from Locke. Both methods have their merits and both their disadvantages, as might be expected when the undeveloped character of the art and science of writing at the time is taken into consideration.

Mulhauser’s Method is analytic and then Synthetic. He first decomposes the letters into their fundamental strokes, calling these respectively the right line, curve line, loop and crotchet. The letters of the alphabet are then classified according to this analysis as follows:

Class 1.	i, u, t, l (right line and link).
Class„ 2.	n, m. h, p (hook, right line, and link).
Class„ 3.	c, e, o (curve line).
Class„ 4.	a, d, q (curve, right line, and link).
Class„ 5.	g, j, y (loop letters).
Class„ 6.	b, f, r, v, w (crotchet letters).
Class„ 7.	k, s, x, z (anomalous or irregular letters).

As an aid to the pupils the Copy Books are ruled in rhomboids (the style being slanting) to regulate the size, width and slope of the writing.

The advantages of this method are that it is scientific in its analysis, graduated–to an extent–in its arrangement, and intelligent in its general construction and presentation to the juvenile mind. Many objections have been taken however to the scheme by teachers, some of which are more fanciful than real and others more prejudiced than pertinent. There are certainly however (apart from the vital objection of slope) some few drawbacks, but these do not militate sufficiently to destroy its value as a feasible and workable method on which to teach writing, if teachers will only modify it as the requirements of their classes demand. It will be noticed that the classification given in these pages (p. 96) resembles that of Mulhauser from which it varies only in a slight degree warranted we think by the incongruity of presenting–as Mulhauser does–the very difficult long letters h and l before such easy letters as c, e, o, and elsewhere similarly.

Many of Locke’s ideas are forceful, but some are certainly peculiar. He insists that children shall be taught, and perfectly taught, how to hold the pen before they are allowed to make a stroke. He also maintains that large hand shall be taught before small hand, and that writing shall for a considerable length of time consist of tracing over faint red-ink outlines printed in the Copy books. His method may therefore be briefly summarized as follows:

Step 1.	How to hold the pen.
Step„ 2.	How to sit and to place the book.
Step„ 3.	Tracing over large hand copies in faint red ink.
Step„ 4.	Tracing„ over„ small hand„ copies„ in„ faint„ red„ ink„
Step„ 5.	Copying from large-hand Headlines.
Step„ 6.	Copying„ from„ small hand„ Headlines„

There is an unquestioned advantage, which none can fail to recognise, in teaching a child how to hold the pen at the very beginning of his caligraphic course, but whether it is better to do this before a stroke is made or whilst the strokes are being made is a question for discussion. So long as the right way of holding the pen is secured (and it may certainly be secured by both methods) it will matter very little as to the exact and relative moment when it shall be accomplished. The tracing, especially so much of it as Locke recommends, is now considered injurious rather than otherwise by the majority of critics. In the most elementary stages tracing is helpful; afterwards we believe to be harmful. Lastly, beginning with a very large hand is an evil already proved and we need not recapitulate.

The general method prescribed in this manual may be looked upon as being compounded of the two just reviewed, one in which the danger of too much science in the one case, and of too much mechanical art in the other are equally avoided.

In offering, shall we say in presuming to offer, a few directions for class teaching there is great risk in running foul of many old-fashioned and established prejudices. Perhaps on no point connected with School Work is there so great a multiplicity of opinions as to how writing should be taught. No two persons in a hundred will agree on half a dozen given questions. Authors of Manuals on Education, Inspectors, Training College Lecturers, and Teachers are all individually so many separate, independent, and oracular authorities as to how to teach writing.

And we are not now referring so much to methods in general as to processes in particular. Whatever method be adopted “How shall it be taught successfully”? is what concerns us.

Presumably there is a satisfactory answer to this question. It is certainly possible to invest the teaching of writing with an interest that shall render the subject most attractive to the pupils and there is no reason why the writing lesson should not be one of the most fascinating studies in the schoolroom. Of course to attain this the master must first of all be enthusiastic himself, for Enthusiasm is Contagious. To do a thing well it must be done thoroughly; in the teaching of penmanship equally as in other departments. Teachers must be energetic, lively and earnest, then and not till then will the classes be interested, enthusiastic and determined. It will be found profitable to introduce discussions in the class when such and such outlines are analysed or illustrated on the Blackboard. Intense excitement for instance can be roused on the duplicate forms of such letters as s, r, x, z, and whilst inviting and encouraging the free expression of opinion the teacher can guide the minds of his pupils to a right and sound conclusion by his own matured views and higher knowledge.

Another valuable adjunct is Class Practice on the Blackboard. Nothing in the round of everyday School life is more appreciated by children than this interesting exercise. A certain word or phrase is proposed, and selected pupils are required to write it on the Board. (This selection of pupils should include the entire class in rotation, any preferential distinctions being invidious and quickly detected by the juveniles.) When the Blackboard is filled, or a sufficient number have written, the work of criticism begins and may occasionally be allowed to culminate in a vote as to which is the best line.

During the criticism, which in the hands of the teacher may be rendered highly educative as well as deeply absorbing, and whilst the faults, exaggerations, defects, &c., are carefully noted the scholars should be encouraged to discover the several points of excellence, as it must never be forgotten that Commendation animates the (juvenile) mind and proves one of the most powerful levers at the disposal of the teacher.

A lesson of this kind once a fortnight or so will be eagerly anticipated by the pupils, and it will prove also an efficient and agreeable relief to the ordinary routine of the writing class. A further variety consists in a given copy being written in different ways by the teacher on the Blackboard, to be inspected and criticised by the class. The zest displayed in criticising his work will be as amusing as surprising, and not the less profitable. Every defect will be keenly scrutinised, every possible shade of opinion expressed and progress proportionately stimulated.

Then again interest of a totally different kind may be introduced by occasional competitions amongst the pupils, such as racing against time or against each other. Let a certain extract be prescribed and instruct the class to copy out accurately, and well, and as quickly as possible until the signal to stop is sounded. Then the work being collected it is arranged in order of merit, due allowance for quantity being made when marking for quality.

A modification of this exercise is to write a Copy on the blackboard for imitation and repetition during a certain specified time as before. The pupils who are conspicuous for their slowness in these practices should have extra time given them for separate tuition, that they may become more expeditious. If each week the best specimens thus produced were on exhibition in the Class or Schoolroom, the writers would be encouraged to a still greater degree of effort and ambition.

Yet another variation is to get a volunteer to write a copy on the Blackboard and afterwards to criticise it himself. This variation frequently gives rise to very entertaining but also beneficial remarks. Pupils grow increasingly expert at the task and thus insensibly to themselves, the development of their mental appreciation and mechanical ability in the art of writing progresses with great rapidity. A word or two with reference to Home Work. All the labour of the teacher will be greatly discounted if not neutralized should he neglect to strictly supervise the written Home exercises of his scholars. Special marks for neatness in all written work should be awarded, and penalties of varying character be inflicted for deliberate carelessness in this matter. Where the ordinary arithmetical and written exercises are thus made to supplement and support the class teaching, results of the happiest kind will inevitably follow.

A flagrant case of scribble reproduced by the Master on the Blackboard for the adverse criticism of his Schoolfellows will generally act as a specific for either spasmodic or chronic cases, since boys do not relish the idea of being held up to either ridicule or censure from their own companions.

Many other expedients of a similar kind can be resorted to for the purpose of engendering a praiseworthy emulation amongst the writers. Every week will possess its special opportunity and supply material wherewith to point a lesson or adorn a rule. Now it may be a curious manuscript; again it will be an equally curious letter that can thus be utilized. Finally a most powerful stimulus can be infused into the class by periodically placing the Copy Books in order of merit and exhibiting the list on the Notice Board a test of their comparative merits which finds favour immensely with the pupils, who are thus encouraged to strain every power in the desire and struggle to get well placed.

The following general instructions for class-teaching include most if not all the chief points that can arise in a writing lesson.

1. Secure and maintain correct position of writers, books and pens.
2. See that every pupil is provided will all necessary material.
3. Remind the class at the beginning of each lesson that the writing must be uniform in Size, Shape and Direction.
4. Strongly forbid all quick writing.
5. Make a liberal use of the Blackboard for purposes of analysis, correction and illustration.
6. Permit no pupil to remain idle or unemployed waiting for others to finish: let each writer work independently of his fellows.
7. Insist upon continuity in the writing of every word save those in which the letter x occurs.
8. Frequently remind the Class that writing is a kind of drawing and that the sole object is to fac-simile the Copies.
9. Let your motto be approval rather than censure.
10. Pens must not be wiped on the dress nor must ink be jerked or thrown upon the floor.
11. Writers must not paint their letters, that is thicken or mend them after being once made.
12. Always mark the writing relatively, and not apart from the age and ability of the writer.
13. Avoid favouritism; encourage naturally poor writers; be severely strict with all careless pupils.
14. Rather give copy books that are too easy than those which are too difficult.
15. Utilize all available Competitions for your classes. The stimulus of “Prizes” or “Rewards” is universally needed in every walk of life, more particularly in a juvenile writing Class.
16. Make a special study of any hopelessly bad writers: never despair of entirely reforming such.
17. Post the names of the best writers and of the most diligent writers on the walls of the Class or Schoolroom.
18. Caution the class against plunging pens to the bottom of the inkwells.
19. Guard against writing too long at once; relieve by rests in which theory may be illustrated on blackboard.
20. In writing, more than in any other subject, strive to keep the pupils in a good humour.

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We shall conclude this chapter with a few hints to writers.

Multum in Parvo.

1. Write vertically.
2. Write continuously.
3. Write uniformly.
4. Write plainly.
5. Write slowly.
6. Discard all flourishes.
7. Make the simplest capital letters possible.
8. Avoid heavy or thick writing.
9. Make short loops.
10. Don’t grasp the pen tightly.
11. Keep the fingers’ ends clear of the nib.
12. Use plain penholders not fancy ones.
13. Avoid striking pen to bottom of inkstand.
14. Use a wet sponge for penwiper.
15. Always keep the thumb slightly bent up.
16. Write evenly with both points of the nib.
17. Push up the book as the writing descends.
18. Sit easy and erect before the book.
19. Avoid all twisting of the body.
20. Keep both arms free from the sides.
21. Point the pen towards the elbow.
22. Keep the fingers easily straight.